Laura Beck at Jezebel stared down the facade of The Library: A World History and liked what she saw (“You’re Gonna Drool Over This Pure, Perfect Library Porn“):
The new book The Library: A World History, is filled with gorgeous photography of book palaces around the world. That one above is the grand Philosophical Hall, at Strahov Abbey in Prague, and it’s straight Beauty and the Beast-style. I half expect Belle to come flying by on a rolling staircase talking about the book with the far-off places and a prince in disguise. It’s her favorite!
For added context, here’s UK-based author James W. P. Campbell’s take on the library in the world:
The irony is that today we are told that the book and hence the library, is under threat. So will this study serve merely as a memorial to a defunct building type? Perhaps, but not quite yet. Today more books are bring printed each year than ever before. While public libraries are being closed in Europe, other parts of the world, such as China, are building them. The sales of physical books are increasing, . . .
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A piece on Terrence Malick’s latest film To the Wonder appeared shortly after its release this April at New York Magazine‘s online site Vulture. Nothing about the title of the piece need grab you at first engagement—though “Radiant Zigzag Becoming: How Terrence Malick and His Team Constructed To the Wonder” is elegiac and ponderous and a bit of a mouthful, not unlike the reputation of Malick’s oeuvre. What ends up fascinating in this article—besides lines we like such as, “the film has struck some as a particularly Malick-y Terrence Malick film”—is the breakdown of that radiant zigzag becoming, which the writer traces to a scholarly introduction penned for an edition of Samuel Richardson’s Pamela; or Virtue Rewarded, a tawdry Stockholm Syndrome-done-good epistolary novel that shocked and awed its eighteenth-century readers. The Intro was written by our own Margaret A. Doody, the John and Barbara Glynn Family Professor of Literature at Notre Dame and a specialist in Restoration and eighteenth-century British literature.
The relevant connection to Doody’s work?
One odd but telling reference point Malick gave his editors was Margaret A. Doody’s introduction to the Penguin Books edition of Samuel Richardson’s revolutionary . . .
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The most recent issue of the Times Literary Supplement reviews Roger Grenier’s A Box of Photographs, a chronicle of Grenier’s exploits in writing (as a journalist; an editor at Éditions Gallimard; and the author of more than thirty novels, short stories, and literary essays) alongside the story of a life spent in conversation with the medium of photography. Included are vignettes about his own experiences and those of the photographers he admired or with whom he crossed paths while paired on assignment for newspapers like Combat (founded by Albert Camus) and France-Soir. All of this comes, of course, with meditations on the photographic image, as Grenier champions the work of those like Lee Miller, who placed themselves in positions perilous to their own safety to capture the atrocities of war, and voices disapproval for those photos circulated by the “proto-paparazzi,” filled with a kind of carrion fatigue, often portraying the moments just before or after famous death.
As Peter Read writes in the TLS:
Divided into short chapters, like selections from a newspaper column or pages from a photo album, A Box of Photographs tells in words and images the story of a life spent . . .
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